Review: We last saw Amit in 2011 with his critically acclaimed 9 Times LP on Commercial Suicide, which brought together a unique blend of sounds and concepts and united them into one. Here he returns, this time on D Bridge's Exit Records, with a four-track EP which is equally stunning. "You Look Better Dead (featuring Rani)" is a melancholic piece with booming bass, rattling breaks and mournful lyrics. "Manic Minor" switches things up with frenetic SFX bleeping in the background, booming subs and barely there percussion. "Stay With Me" is all about the instrumental swells and "Kritical" gets dark and menacing as the EP draws to a close.
Review: Exit supergroup Binary Collective (comprising dBridge, Joe Seven, Kid Drama and Consequence) lay down their debut document? And it?s every shade of retro-stated future you?d hoped it would be. Diving deep into the analogue abyss, each cut attempts to out-deep the next while remaining well weighted and groove-focused. ?Binary Theme? is Moroder on Mogadon, ?In Pursuit? is a car chase in toxic treacle, ?Cloud Creeping? is what triphop would sound like if it was invented 20 years later while ?Sentries Watch Us? sounds like one of Parliament?s more experimental jams but played and recorded under water. These daft comparisons are just the tip of the iceberg, though ? it?s hard to reference music as matchless as this? Listen and interpret it in your own universe.
Review: So what do we have here, we ask ourselves as we unwrap this tasty looking selection from Blackpocket and Steve Spacek, courtesy of the legendary Exit imprint. What we in fact have is a perfect example of soundscaping at its finest, kicking off with the aquatic drips of the title track 'ALAYLY', the stunning, lofi vocal work of 'Footsteps' and crunchy percussive leads of 'In Da Back Room'. Next up, the super trippy synth expanses of 'Organic Tech', followed by the electronic explosions of 'Sho U' alongside Fatima and the smooth soulful harmonies of 'Wake Up Feel Good'. We round this one up with a look at the 80's inspired drumwork and distant vocal presence of 'Worlds Together', polishing up an extremely interesting project from start to finish.
Review: Now this is most certainly an interesting one as Exit unveil yet another incredibly unique project, inviting the sounds of Borderlandstate and The Best Kisser In LA in together for an incredibly vibrant five track selection. This is electronic bass music in it's most creative, kicking off with the glitchy computer bleeps of 'The Happy Goose' and post-breakbeat fusion of 'SE17'. Up next, the incredibly colourful percussive flavours of 'Pattern Collapse' and spacey, spooked out sub pressure of 'Interlinked', before the industrial rhythms and choppy vocal layers of the title track 'Hello Mainframe' round us off with a final dab of flavour.
Review: The man behind the deepest MC voice the UK has ever known, Chimpo also runs a very fine line in beats. He's nowhere near as prolific as he should be. But when he does start the engine up, it purrs like a Bugatti. The turbo-charged footwork-meets-jungle "Restless Leg Syndrome" drives like one too. Deeper into the release we strike swaggering, waspy halfstep gold on "Haymaker", we get dangerous on the stark, spacious almost trap-like title track, we hit tribal insanity on the loopy vocal-coated "Bun It" and trippy insanity on the wonked-out, weirded-up "Dumb". Out, bad and essential.
Review: Chimpo on Exit. Is the world ready for this? Probably not. But since when did that stop guys like these? Especially with Trigga and Fox going toe-to-toe on the motorway-shredding rampage session "Ram Dance Man". Elsewhere "Bedsprings Riddim" warms up with sultry, jazzy come-to-bed tones before dropping into squeaky dancehall hanky-panky dopeness, "Suga Rush" has a touch of the old schools to its pads, breaks and pitched up vocal sample while "Stanna Stairlift" eases us into the groove with soft goosebump pads before dropping into some broad canvas stroke breaks which wouldn't have gone amiss on an old Big Bud record. Magnificent.
Review: A considered highlight of recent Autonomic podcasts, D Bridge finally releases "So Lonely", a track notable for some heart wrenching vocals from the Exit Records boss himself. If the fragile and stripped down nature of the original is not for you (and the feline growls that intermittently appear throughout seem an odd accompaniment) then the commissioned remixes will certainly find favour; not least the effort from Hyperdub's Morgan Zarate which imbues proceedings with some shimmering future funk. Exit regular Consequence opts for the more familiar spacious D&B steppah vibe, flushing the nether regions of the crisp, electrofied 808 programming with plenty of menacing industrial atmosphere.
Review: DBridge continues his consistently innovative vision with a whole stack of newness. We launch into his cosmos with the truly unique "Too Late", a deliciously slo-mo soul record that almost sounds like it's made to appear like it's on half speed. Pensive, gradual and measured with strings, lilting pianos and his own falsetto, it's total future soul complete with two equally forward-thinking remixes from staple label peers Stray and Spacek. Deeper again we hit "Gone Before Dawn" which steps, cautiously, with much more of a barbed tech aesthetic. We hit "Better Than The Pain", a languid sci-fi Heart Drive special and close with the woozy feels of "Coz My Love Is" a record that sounds like jazz, recorded underwater, somewhere near Detroit with Amp Fiddler. Beautiful.
Review: The ever-unclassifiable Darren White opens the lid on what we hope to be a series of remixes from last year's long-awaited sophomore solo album A Love I Can't Explain. Naturally the remixes come from the most left of fields. The Fear Ratio (James Ruskin & Mark Broom's apocalyptic fractured downtempo alias) takes "Nauchtlus" to even starker, darker, spaced-out pastures than the original while Kahn wraps "They Loved" up in a thick carpet of emotional haze and sends it off to the furthest corners of the cosmos imaginable. Unexplainably awesome.
Review: In case last year's long-awaited sophomore solo album A Love I Can't Explain wasn't enough for dBridge fans, here's another mini album. Seven tracks deep, originally complete with his photobook capturing his closest friends and family in the game, once again it sets us off on a unique path that could only be paved by the uncompromised Exit founder. Highlights include the Detroitian dirge "Hidden Intention", the total synth theatre of "Tear Me Open" and the woozy outer-planetary wonk of "Echo Chamber". Beguiling.
Review: Whenever we see the names Exit & DBridge attached to the same project, we know we are in for a hell of a ride, a theory that definitely rings true throughout this stunning new project entitled 'Inhibited'. The LP consists of jaw-dropping originals, showing off just how far ahead of the game DBridges drum construction and general sound design is at this point. From the melancholy clipping of percussion of 'Ether' and emotional atmospheric journeys of 'Climb Together' to the super techy metallic switch ups of 'The Frame', the project covers so much ground! Our initial highlights have to include the glorious harmonic structures and lo-fi percussion runs of 'December's Soul', alongside intense, alarm like synth design of 'Beg, Steal & Borrow'. Amazing work!
Review: Another unique concept from two scene sages dBridge and Kabuki: New Forms was a series of nights in Berlin's legendary Watergate where the guest DJ would come over early and make a track especially for the show. Stray, V.I.V.E.K, Kid Drama, Cooly G, Addison Groove and Zed Bias all got involved, each with exceptional results; highlights include Bias's UKG influence on the string-led "Tune In", the harrowing choral rhythmic element and necksnap breaks on the Stray-related "With U" and the shadowy dub caverns of the V.I.V.E.K-vibed "Dem A Sleep". Each tune only made for the purpose of the New Forms night itself, these were never actually planned to be released. Count your blessings daily.
Review: dBridge & Skeptical: do we even need to say any more? Two natural bass innovators repping two separate generations colliding once again to create two singular slices of 170 rawness. "I've Seen" hits heavy from the off with a very Book Of Bad style heads-down gurgling bass roll and an ace sample about a whole other deadly type of material. "Poor & Poverty" flips a whole other CPU of switches as we're taken deep down the digidub rabbit hole. Rolling at halftime speed but punching with soundclash weight, in some ways it takes us back to their first collaboration "Move Way" from 2013 but with less bashment feels and more technoid paranoia. Kindred business.
DBridge/Skeptical - "No Discipline" - (6:24) 174 BPM
DBridge/Alix Perez - "Through My Eyes" - (6:17) 170 BPM
Review: Darren White aka Dbridge has been carrying out some wicked experiments in what circles have described as the 'grey area' between deconstructed/post Autonomic drum and bass and techno/house. The outsider journeys kind of continue (though don't get too outlandish, rest assured) on VS004, with White teaming up with Metalheadz' Skeptical for "No Discipline" featuring a dark sub bass pulse carrying its dystopian atmosphere; the subtlety works wonders on this effort. Next up the label head honcho teams up with Shogun Audio's Alix Perez on "Through My Eyes" a lush and liquid deep drum and bass journey with a nod to legends of the craft like Marcus Intalex or LTJ Bukem.